late advise for all

Dear All:

This is a very late entry reminder (never too late) to all as you are in the process of responding to our request for a "diagram/notational drawing" and "progarm" for your degreee project.

The diagram/notational analiticalo drawing we are suggesting thatb you do at this time should be applied to your film. You should act as if you were a (1) director of the film= story board, (2) cinephotogrepher +selecting the camera/eye point of view and/or (3) lighting designer etc.
You should produce analytical drawings of all these aspects of your film. Theser shouls help you
down the road , as an architect, plan the architectural interiorv experiencs of whatever program you might choose!!!!

Next, as you are thinking about a program, wde must remind you all of the goal and emphasis of our studio, which you have chosen. PLEASE READ CAREFULLY ..at we will expect you all to explain and justify hoew your chosen program fits within our theoretical frame work!!!



Theoretical Frame

Architecture is above all a walk through arcades, walls and columns subject to gravity. Such movements are the essential phenomenal ground for discovering architecture's most basic condition, that of interiority. Architectural experience, as a mode of knowing, originates and exists primarily in direct experience, the “being here” of bodily experience. It is the disembodied quality of many recent developments in architectural theory and architecture teaching that this studio attempts to address.

Theoretical Frame continued:
The name Constructive Curiosity is continuation of our interest in the Plastic Arts. The name ’Plastic Arts’ is an older and more restrictive term within the more general category of the visual arts. In french the term „arts plastique” comes from the Latin term ars and from the Greek word plaastikos used to describe those arts that must manifest tridimensional experience such as sculpture and architecture.
The phenomenon of Synesthesia refers to cross-modal associations, an interface of virtual (non-sensorial) perceptions with normal sensory perception, These are associations of modes rather than replacing one perceptual mode for another. Such as “where am I ?” (space/time) ,"smell" colors, "see" sounds and "feel" tastes. “touch” texture. Inter-sensory associations are the basis for becoming inter-subjective emotional states between the “I” and the “other” in human collective experience.
Synesthesia is not a concept, but a material experience occurring in the brain and imbedded in cultural behavior-language/art. Others suggest that these primary metaphors might be hord wired in the brain (see neurophilosophy).
A revival of scientific interest in synesthesia has taken place following cognitive , multimedia and philosophical research that are contemplating the condition not as an anomaly of the mind, but as a norm of human perception, imagination, and creativity.









Rules of the game are from from Phenomenology (Merleau Ponti and Don Idhe)

Two different strategies for interpretation (of grasping, holding in memory)

1. Hermaneutic strategy

the use of story devices and (metaphorical naming) in order to create
an immidiate thought context.

the story creates a condition that immidiately sediments the perceptual possibility- perception takes shape within and from the power of suggestion of a language-game.


2. Phenomenological strategy

centering on the subject , the way in which
perception functions is made thematic

the instructions of how to look, rely on certain knowledge of the
mechanisms of subject as active percievers.



WE in this STUDIO emphasize the phenomenological approach over the Hdermaneutical (narrative,symbolic) approach. The reason for this is the great misunderstanding that architecture can represent a story, a metaphor…see Neslson Goodman…give quote here……





...

Architectural Synaesthesis

a hypothesis on the makeup of Scarpa's modernist architectural drawings.
by Marco Frascari\


I can see an image only if I draw it.

the concentration on material substances or material beings and their transformations and transubstantiations reveals in his drafting the vital differences between what buildings are in themselves (their substance) and the perceptible qualities or characteristics

that in a synesthetic transubstantiation Scarpa manipulates as drawing accidents.
The implicit requirement of Scarpa's studio was that non-duplicable drawings were to be traced on Bristol board or similar material using a range of colored pencils and pens.



From: Philosophy in Flesh Lakoff

Chapter 4
Primary metaphor and the subjective experience

We make subjective judgments about abstract things as importance, similarity, difficulty, and morality, and have subjective experiences of desire, affection, intimacy, and achievement.. Yet,…the way we conceptualize them , reason about them, and visualize them comes from the domain of experience. These other domains are mostly sensory-motor domains (see Piaget stage of concrete operations) , as when we conceptualize understanding an idea (subjective experience) in terms of grasping an object(sensory motor) …a conceptual metaphor

The four parts of the theory of primary metaphor

1 Subjective (non sensory-motor) experiences and judgments, on the one hand,
Sensory-motor experience, on the other, are so regularly conflated –
undifferentiated in experience- that for a time children do not distinguish
between the two when they occur together. …During the period of conflation
associations are automatically built between the two domains. Later during
a period of differentiation ,children are able to separate out the domains,
but the cross-domain associations persist

2 All complex metaphors are “molecular” made up of “atomic” metaphorical
parts called primary metaphors (see Neslon Goodman “How buildings mean”four types of references-denotative, exemplification, expressive, complex chains of reference)

Each primary metaphor has a minimal structure and arises naturally,
automatically and unconsciously through everyday experience by means
of conflation…..Complex metaphors are formed by conceptual blending. Universal early experiences lead to universal conflations, which then develop into universal (or wide spread)conventional conceptual metaphors.
(link to Hayden and the universal and the particular, nominalism)



3 Narayanan’s neural theory of metaphor…permanent neural connections
( yes but..the transmission is mostly by recorded culture, the “meme” concept of Dwarkin)

4 Distinct conceptual domains can be co-activated, and under certain conditions connections across the domains can be formed, leading to new inferences.

The Sensory-motor structuring of subjective experience

In “Metaphors We Live By”, we gave evidence that conceptual metaphors are mappings across conceptual domains that structure our reasoning, our experience and our everyday language. We pointed to the existence of experientially grounded mappings, for example:
More is Up, as in “Prices Rose”…….. This correspondance between quantity and verticality arise in our everyday experiences..

Affection is warms
Important is big
Happy is up
Intimacy is closeness
Bad is stinky
Difficulties are burdens
More is up
Categories are containers
Similarity is closeness
Liniar scales are paths
Organization is physical structure
Help is support
Time is motion
States are location
Change is motion
Actions are self-propelled motions
Purposes are destinations
Purposes are desired objects
Causes are physical forces
Relationships are enclosures
Control is up
Knowing is seeing
Understanding is grasping
Seeing is touching



HAYDEN WHITE

"The archetypal plot of dicursive formations appears to require that the narrative "I" of the discourse move from an original methaphorical characterization of a domain of experience, through metonymic deconstructions of its elements, to synecdochic representations of the relations between iys superficial attributes and its presumed essence, to finally, a representation of whatever contrasts or oppositions can be legitimately be discerned in the totalities identified in the third phase of discursive representation. Vico suggested such a pattern of moves in his analysis of
the "Poetic Logic" which underlay and informed all human efforts to "make"
a world adequate to the satisfaction of the felt needs of human beings, in pre-rational cognitive processes. ....The move from a metaphorical apprehention of a "strange" and "threatening" reality to a metonymic dispersion of its elements into the contiguities of the series is not logical. "



Merleau-Ponty argued:

The social is not collective consciousness but intersubjectivity
a living relationship and tension among individuals.

the fact that Husserl determines the living
present as the ultimate, universal and absolute “form”


Inseparable from the concept of appearance, sense, evidence or essence…


Only form is evident, only form has or is essence, only form presents itself
as such.

This is a point of certainty that no interpretation of the Platonic or Aritotelian
conceptual systems can dislodge.


All the concepts by which eidos or morphe could be translated and determined
refer back to the theme of presence in general.

Form is presence itself
Formality is what is presented, visible, and conceivable of the thing in general.

That metaphysical thought – and consequently phenomenology- is the thought
of being as form, that in it is conceived as the thought of form and the formality of
form, is nothing less than necessary; the fact that Husserl determines the living
present as the ultimate, universal and absolute “form”


Anything that is known (Morris)

1. behaviorally (sensory-motor direct experience) phenomenological
WE START IN THIS MODE/METHOD…starting with film we begin with the interiority and materiality of direct cross-modal (synaestesia) spatial experience and primary metaphoric unconscious cognitive expefrience (see Lackoff)

2. imaginalistical . recognizable gestalt, totalities in memory, Representational, metaphorically, poetic logic, metaphoric Hermeneutical, Symbolic,

“The Present Tense of Space “
Ch 10 in The Continuous Project Altered Daily
by Robert Morris

“ Since the mid-1960’6…..”independent specific object” have proliferated……the 70’s have produced a lot of work in which space is strongly emphasized…….focuses itself on spatiality….”

“a state of being I will call “presentness”; two kinds of Kublerian historical development ( is he referring to the book “the Shape of Time” ? or to the film maker), citing precedents, some of them widely separated in time and space; and three formal characteristics of the paradigm underlying the kind of work that now seizes presentness as its domain……..”
“Time is in this newer work in a way it was never in past sculpture…More at issue is the shift in evaluation of experience (direct experience) This experience is embedded in the very nature of spatial perception”
“Mental Space” has no location within the body. Yet without it there is no consciousness, Julian Jayyness suggests that mental space is a fundamental analogue-metaphor for the world, and that it was only with the linguistic development of terms for spatial interiority occurring around the second millennium B.C. that subjective consciousness as such can be said to begin. (link to Piaget and the children’s metaphoric world view, and to sensory-motor phase of cognitive concept of void/space in children similar to the beginnings of same in early humans)
Some times ago George Herbert Mead divided the self into the “I” and ‘me”. The former, the “I” has to do with the present-time experiencing self, consciously reacting. The latter , the “me” is the self reconstituted from various indices…”

“Knowledge of their space is less visual and more temporal-kinesthetic
than for buildings that have clear gestalts as exterior and interior shapes

(gestalts –organized complexes are totalities recognizable with narrative see installation Alice Aycock The beginning of a Cpomplex…housing as masa verde mountain in a flat field )
Anything that is known behaviorally (sensory-motor direct experience) rather imaginalistically (like children in the early metaphorically (see Piaget and the source of primary metaphors for Lackoff”)

is more time bound, more of a function of duration than can grasped as a static whole. Our model of Presentness begins to fill out.

The viewer’s feet are in the space of the art, but his vision operates according to the perception of objects (see Acconci). Some “scatter” pieces occupied the entire floor, the wall acting as limiting frame”
One could call these “noun” and “verb” type of spaces.
“Other efforts, restraining an emphasis on the phenomenal aspects, moved more directly into a confrontation with space. Some, by presenting articulated interiors, have moved close to an architectural imagery “ (see figure 10.17 Robert Morris, Untitled)

“Other work opens up the extended spatial field by employing distances rather than contained interiors. In most cases the overall unifying gestalt form has usually prevailed. These have been structural options that various works have found rather than programmatically followed.” (see Robert Morris , Untitled figure 10.17)
“The nature of gestalt unity, however, is instantaneous – in the mind if not always in the eye. Buy “all at once” information generated by gestalt is not relevant and is probably antithitetical to the behavioral temporal nature of extended spatial experience.”
“It is wrong to describe gallery and museum spaces as “spatial” in the sense in which I have been using the term. Such rooms are anti spatial or non spatial in terms of any kind of behavioral (sensory-motor direct experience) These enclosed spaces were designed for frontal confrontation of objects. The confrontation of the independent object doesn’t involve space. The relationship of such objects to the room nearly always has had tto do with its axial alignment to the confines of the walls.”

“The viewer’s feet are in the space of the art, but his vision operates according to the perception of objects (see Aconci). Some “scatter” pieces occupied the entire floor, the wall acting as limiting frame”

“One could call these “noun” and “verb” type of spaces.
(Serra is verb type , Aycock is noun type) in a “ field” recognizable housing typology a complex looking like a mountain Mesa Yerde against the horizon….memory …….narrative…..”